Richard Barrett is internationally active as composer and performer, and has collaborated with many leading performers in both fields, while developing works and ideas which increasingly leave behind the distinctions between them. His long-term collaborations include the electronic duo FURT which he formed with Paul Obermayer in 1986 (and its more recent octet version fORCH), the ELISION contemporary music group, for which he has composed and performed since 1990, and regular appearances with the Evan Parker Electro-Acoustic Ensemble since 2003. His musical work encompasses a range from free improvisation to intricately-notated scores, and from acoustic chamber music to innovative uses of digital technology. Current projects include a major new cycle of works for ELISION, and another for the Chicago-based Fonema Consort. His work as composer and performer is documented on over forty CDs, including seven discs devoted to his compositions and nine by FURT. In October 2020 he set up the digital label STRANGE STRINGS together with harpist Milana Zarić. His book Music of Possibility was published by Vision Edition in 2019. In December 2020 he was appointed to a new professorship in Research in Creative Music at Leiden University.
Justin Bennett’s widely ranging work is as rooted in the audiovisual and visual arts as it is in music. Justin Bennett produces (reworked) field recordings, drawings, performances, installations, audio walks, videos and essays. Recent work consists of thematic projects focussing on the role of the artist in urban development, the relationship of sound and memory and the history of psychiatry in relation to the occult use of technology. He collaborates widely with other artists including the performance group BMB con.
Lex van den Broek studied electronics and information technology at the Rotterdam University of Applied Sciences. After his studies, he worked for sound projects, where he designed new amplifiers for active loudspeaker systems. Lex van den Broek is head of the Electronics Workshop (EWP) at the Royal Conservatoire. He has developed an expertise in guiding students and teachers of ArtScience, Composition and Sonology in the design and construction of electronics, in particular sensor-based (musical) instruments and multimedia installations.
Raviv Ganchrow’s work focuses on interdependencies between sound, location and listener, aspects of which are explored through sound installations, writing, and the development of acoustic-forming and vibration-sensing technologies. Recent installations address context-specific sites of hearing as modes of the contemporary listener. His on-going Listening Subjects project examines the contextual circuitry of listening whereby audibility, surroundings and subjectivity are ‘conductive’ of one another. He has been teaching architectural design in the graduate programme at Delft University of Technology and a faculty member at the Institute of Sonology since 2006.
Bjarni Gunnarsson is an Icelandic composer / sound artist who has released numerous LPs, EPs, compilation tracks and reworks on labels such as Vertical Form, Thule, Uni:form, Spezial Material, Trachanik, Lamadameaveclechien, Shipwrec and 3LEAVES. He is concerned with process-based ideas, with sounds focusing on internal activity and motion, with compositions that bring behaviours, actions, fluid sound structures, fuzzy materials or forms into the foreground.
Bjarni Gunnarsson studied at CCMIX in Paris with Gerard Pape, Trevor Wishart, Agostino Di Scipio and Curtis Roads and has completed a master’s degree at the Institute of Sonology. He is currently working with algorithmic composition, generative environments and live electronics. He is also working on new material with his long-lasting electronic music duo Einóma, and for MGBG, a duo of voice and electronics with singer Marie Guilleray.
Paul Jeukendrup is a sound designer and sound director who studied music registration and electronic music composition at the Royal Conservatoire in The Hague. He has designed and directed sound for festivals (Holland Festival, Wiener Festwochen, Berliner Festwochen, Sonic Evolutions Festival Lincoln Center New York), and specialises in the field of new music.
He has worked in the Netherlands and abroad with composers such as Karlheinz Stockhausen (world premiere of the Helikopter Streichkwartett), Louis Andriessen, Heiner Goebbels and Peter Eötvös, and with ensembles such as the Arditti String Quartet, Ensemble Intercontemporain, Hilliard Ensemble, MusikFabrik, ASKO|Schönberg and London Sinfonietta.
Paul Jeukendrup taught sound design at Delft University of Technology from 1997 until 2001 and has been teaching at the Royal Conservatoire since 1999. Since 2009 he has been the head of the Royal Conservatoire’s Art of Sound department.
Ji Youn Kang is a composer and sound artist. She studied composition at Chu-Gye University of Arts in South Korea, before she moved to the Netherlands and achieved her master’s degree both in Sonology and in Composition at Conservatorium van Amsterdam. Most of her music pieces have been composed based on the rites of Korean Shamanism, and many of them were written for Wave Field Synthesis playback, exploring the relationship between musical and physical spaces. At the same time she has been composing live electronic pieces for both traditional and non-traditional instruments, ranging from a solo instrument to a large orchestra, exploring mostly the primitive, empowering rhythmical elements and the noisy sound sources that the Korean ritual music involves. She is also active as a solo performer.
Her pieces have been performed in many different venues and festivals such as La Biennale di Venezia (IT), Gaudeamus Muziekweek (NL), Internationales Musikinstitut Darmstadt (IMD), Time of Music (FI), Sonic Acts (NL), STRP (NL), SICMF( KR), Sonar (ES), Synthèse (FR), TodaysArts (NL), MISO (PT), Audiopolis (ES) and Festival de Música (ES).
Fani Konstantinidou is a composer and sound artist interested in cultural, cross-cultural, and social identities, and their sonic imprints. Her main topics of interest are urban and rural sonic environments, spoken language, and culturally associated musical instruments. She creates various types of works such as site-specific and multichannel compositions, along with live, often improvised, performances. With her music she explores the potential and the antitheses between analogue and digital.
Fani Konstantinidou studied electronic music composition in Greece and the Netherlands and currently is at the finishing stage of her PhD research in cultural musicology at the University of Amsterdam. Her latest album, Winter Trilogy / The Big Fall, is released on the Amsterdam-based record label Moving Furniture Records. http://www.fanikonstantinidou.com/
Johan van Kreij is a performer and composer of electronic music. In 1998 he graduated from the Institute of Sonology, where he started developing his own electronic musical instruments. He develops both the hardware and software: sensors and other equipment form the gestural part of these instruments, while the sounding part of the instruments consists of software that employs a wide range of sound synthesis models. The instruments are used in the performance of contemporary music, dance and theatre. Johan van Kreij has taught at the Institute of Sonology since 2001.
Anne La Berge’s passion for the extremes in both composed and improvised music has led her to storytelling and sound art as her sources of musical inspiration. Her music gathers the elements on which her reputation is based: ferocious and far-reaching virtuosity, microtonal textures and melodies, and her unique array of percussive flute techniques, all combined with interactive electronic processing and text.
She performs regularly as a soloist, with the ensemble MAZE and with her husband David Dramm. She is a founding artist of Splendor Amsterdam, a collective of musicians who have transformed an old bathhouse in Amsterdam into a cultural mecca, where she rehearses her own projects and shares small scale concerts with international guests.
She can be heard on the Largo, Artifact, Etcetera, Hat Art, Frog Peak, Einstein, X-OR, Unsounds, Canal Street, Rambo, esc.rec., Intackt, Data, verz, Relative Pitch and Splendor Records labels.
Her music is published by Frog Peak Music, Alry Publications, Donemus and many of her Max patch based compositions are available as Apps from her privately.
Peter Pabon studied biochemistry, signal processing and sonology at Utrecht University. His professional career started in 1983 as a part-time researcher on a project called Objective Recording of Voice Quality with Professor Plomp at VU University in Amsterdam, and he worked at Utrecht University as a teacher/researcher on (singing) voice analysis and speech and music acoustics from 1983 until 2011.
He initiated a project for singing voice synthesis and analysis at the Royal Conservatoire that later resulted in a cooperative project with the Vocal Department to monitor voice change as an effect of voice training. In 2002, he founded Voice Quality Systems, a company in which he develops the voice quality recording system Voice Profiler, which is nowadays in use at many clinical centres, conservatoires and schools for professional voice training. Peter Pabon completed a PhD thesis at KTH Stockholm, which has generated several papers and presentations on Voice Range Profile (VRP) recording methodology and the effects of voice training.
Gabriel Paiuk is a composer and sound artist whose work deals with the problematisation of the conditions of experience of sound within the realm of widespread media. His work takes the form of sound installations and compositions for traditional instruments and particular loudspeaker setups, and has been performed internationally by ASKO ensemble, Kammerensemble Neue Musik Berlin, Slagwerk Den Haag, Francesco Dillon, Rank Ensemble, Ensemble 306, Kwartludium Ensemble, Quinteto Sonorama and Alexander Bruck. His electronic composition / sound installation Res Extensa was awarded the Gaudeamus composition prize in 2006.
He holds a Master of Music in Sonology (2012), was director of theCenter for Advanced Studies in Contemporary Music in Buenos Aires (2009) and taught sound design at the Center for Cinematographic Investigations in Buenos Aires (2004–2009). In recent years he has articulated his compositional practice with theoretical research, leading to talks and workshops in contexts such as the Master Artistic Research at KABK (co-led with Raviv Ganchrow), the Amsterdam School for Cultural Analysis (University of Amsterdam) and to a publication in Organised Sound magazine (Cambridge University Press, UK).
Active and activist, Irene Ruipérez Canales is a flutist and educator involved in different aspects of performance, music making, multidisciplinary projects and teaching. She has studied Flute, Education and Sonology. With a large trajectory playing in orchestras and ensembles, she is interested in extended practices and innovative uses of the flute applied to diverse transversal fields.
Rebecca Schaefer‘s primary research interests are the neuroscience of moving to music, music performance and music imagination, aiming to apply these findings to rehabilitation settings. She has received MSc’s in Clinical Neuropsychology and Music Cognition from the University of Amsterdam, and Keele University, UK, respectively. Her subsequent PhD work at the Donders Intitute for Brain, Cognition and Behavior of Radboud University Nijmegen, focused on developing cognitive tasks for Brain-Computer Interfaces, and specifically on decoding music imagery from electrical brain signals. Before coming to Leiden University, she held a SAGE junior research fellowship at UC Santa Barbara and a European Marie Curie fellowship at the University of Edinburgh, UK, where she carried out research focused on the interaction of music and movement, individual differences in rhythmic ability and imagery function. Recent updates and a full cv can be found at her personal website.
Kees Tazelaar followed courses in Sonology in Utrecht and The Hague, and later studied composition under Jan Boerman at the Royal Conservatoire. He has been teaching at the Institute of Sonology since 1993 and has been head of the institute since 2006. His electronic music features a combination of formalisation, richness of sound and a compositional approach to sound spatialisation. As well as a composer, Kees Tazelaar is a historian, who has specialised in the early years of electronic music in the Netherlands and Germany. He has twice been the Edgard Varèse Guest Professor at the Technische Universität Berlin, where he earned his PhD in 2013 with the dissertation On the Threshold of Beauty: Philips and the Origins of Electronic Music in the Netherlands 1925–1965 (ISBN 978-94-6208-065-2).
Kees Tazelaar was awarded a Fellowship Residency from the Bogliasco Foundation in 2017. www.keestazelaar.com
Marko Uzunovski studied sound engineering at the SAE institute in Milan. Subsequently, his interest in electroacoustic music brought him to the Institute of Sonology in The Hague. Since his graduation in 2013 he started working as a sound engineer at the Royal Conservatoire. He is responsible for managing the Electronics Workshop, maintenance of the Sonology studios, and coordinating support for the concerts organised by the Royal Conservatoire.
In 2016 he co-founded the Azimuth Foundation, an organisation that focuses on production and performance of electroacoustic music, organising residencies in various locations in the Netherlands for which they design site-specific multichannel loudspeaker systems. He completed the master’s specialisation “aus LICHT Sound Projection” which focused on the execution and sound projection of Karlheinz Stockhausen’s LICHT opera cycle in 2019.